Category: Uncategorized

At the end of every scenery evaluation, I always try to document the building and other items of interest. I may never return to that space again and it can provide context for later discussions about Freemasonry in that region. It is also helpful to place a Scottish Rite theater within a physical context when discussing a particular set of backdrops. The other rooms in a Masonic facility also provide a lot of information about that particular Valley and membership. What did the Scottish Rite Bodies perceive as valuable? In what areas did they invest substantial funds?

My favorite things to look for in a Scottish Rite building are the signs left by the “management” for the “cast” and “crew.”

These reminders point to problematic areas and issues encountered during general use and Scottish Rite Reunions. Some signs are simply attempts to stop common practices when safety codes changed, such as smoking regulations. Recent “No Smoking” signs are located throughout many Masonic buildings, especially backstage areas and dressing rooms.

Occasionally, these signs are placed directly above ashtrays still in use. During many scenery evaluations, I have often encountered the pungent smell of cigars or cigarettes wafting down from the arbor rail. A typical shout will accompany the first cloud of smoke: “Don’t worry! Nothing’s on fire! It’s just me.” Other forms of vice can be found in the backstage areas. In Fort Scott, we uncovered the empty whiskey bottles, shot glasses, and a few spittoons tucked away under the last shelf in a stage left storage area and along the arbor rail.

There are also the personal decorations of backstage areas with murals, cartoons, newspaper clippings, and photos. In McAlester, Oklahoma, a series of Egyptian hieroglyphs decorate the halls leading from the house right area, past the degree director’s office, and into the paint and supply room.

In Fort Scott, a theatre sign denoted theater occupancy and included a point within a circle for the “o” in auditorium. How clever, the sign painter decided to make something Masonic without the majority of the general public ever realizing it.

There were always the standard signs stating, “no food or drink in the auditorium” and “exit.” It made me think of contemporary parallels when entering performance spaces and current requests of “Please silence cell phones.” What will future generations think of us? The signs point to the times and activities. Even temporal signs will leave clues as to the building’s occupants. In Santa Fe, the door leading from the dressing room to the stage held two bright yellow sheets of paper that read, “No Loose Glitter! Hair ornament. Shoes tidy. Look Perfect! Smile! Have Fun! Be Radiant! Be a Star!”

That was a long message to a performer prior to making an entrance. Obviously, this was a left-over sign from a past dance recital, but I had to wonder how long it had remained posted and how many men had glanced at that same sign before performing in a degree production. Another Santa Fe favorite is a permanent neon sign on the back wall of the Auditorium. It reads “Louder, Slower, “ signaling amateur actors to either project their lines or slow down their delivery.

Again, this shows the forethought to identify and address a continued problem. Some signs are unique insights to the world of Scottish Rite degree productions.

In the three hours that I was onsite at the Moline Scottish Rite, I took over 1500 photos. Of particular interest was a back stage sign that read, “No Smoking, No Profanity, Silence.”

I chuckled as I conjured up scenarios of the last incident that resulted in the creation of this sign. What was the last straw that broke the camel’s back? After all, it was placed stage left above a full-length mirror, suggesting that an actor was at fault before a stage entrance. Could a lit cigarette have accidentally burned something or someone, subsequently causing a burst of profanity from an individual during a contemplative part of a degree production?

I was also able to take extensive photos of the backstage and wardrobe areas. The Moline dressing room is located two flights down from the auditorium. It was much less impressive than the wardrobe rooms in Santa Fe, NM, or Wichita, KS. In the western region, many Scottish Rite dressing rooms included elaborate spaces with glass-faced cabinets displaying extensive costume collections and costume accessories.

The Moline dressing rooms included a standard space for the men to disrobe and leave their personal belongings, costume cabinets, wig shelves, and makeup tables. The one sign that made me laugh out loud started out as a beautifully hand-lettered: “Keep Wigs Off Until Made Up.” I could see someone trying to pull a costume over a very large wig, thus prompting the need for a sign. Signs were the answer to repeated complaints by the management, cast, and crew. Then the additional writing on any one sign specifies additional problems with on one issue. It was the permanent marker writing on the Moline wig sign that added, “Note! Your Wardrobe Man will put it on for You! Your Wardrobe Man will take it off, also!” I have to wonder if a fraternal actor went out on stage with his wig on backwards. At what point did the costume crew decide the cast should keep their hands off the wigs? My guess is immediately upon receiving the shipment of wigs.

Another Moline wardrobe sign noted “If Costume Needs Repair Report to Degree Captain.” This suggests a fairly advanced hierarchy in the wardrobe department, not always a common occurrence in every Scottish Rite theater.

As with the signs in commercial theaters or other public performance spaces, these are signs of the times.

To be continued…

One subdivision of the Moline Scottish Rite collection was very distinct and possibly the work of a single artist. It was identifiable due to its unique style and predominance of overtly bright colors.

There were several scenes that stood apart from the remainder of the Moline collection, especially those that were refurbished for the new stage. The colorful 1930s additions included the Road to Jerusalem, the Cave, the 13th degree Ruins, a Mountain backdrop, the 16th degree Ruins, the Crucifixion, the Ascension, a City in Chaos, and the Cedars of Lebanon. As previously discussed, the abundance of primary colors could have been the result of the aesthetic shift that occurred on stage in the field of scenic art during the 1920s and into the 1930s. But these drops were all just a bit too bright and the style a bit too loose. As I evaluated the scenes, something seemed “off” and was not consistent with other Becker drops that I had encountered over the years. I wondered if this was a temporary hire at the studio in 1930.

This particular scenic artist’s technique and lining were very rough in appearance. Although the composition read fairly well from the house, the paint application remained extremely unrefined. The pictorial illusion was also slightly shattered due the flat appearance of each shape and oddly colored spatter. I wondered if this was the work of an apprentice or young artist at Becker’s studio if not the work of a temporary employee during a busy time.
As with the other scenes painted in 1930 there was a lot of glazing used to build up each shape. I understand that glazing is the preferred method in some studios and could also be tracked back to a specific regional tendency. However, this was something that I had not encountered with Becker scenery before.

Again, there was an excessive amount of spatter throughout each composition. But the coloration of the spatter made no sense at all. Often warm is spattered on cool areas of the composition. This helps with the scene read well under a variety of lighting effects. Similarly, cool colors are spattered on the warm areas. This helps the painting “glow” regardless of the lighting design. In Moline, there were just oddly colored paints spattered on top of random areas. There seemed to be no rhyme or reason.

Again, this could be suggestive of the work by a young artist. The artist could know that spatter was part of the current painting process, but not understand what color was appropriate for each scene or area of the drop. I thought back to the third generation of Cincinnati scenery produced by Bob Moody. He recalled his lack of experience and struggle, being told to “just paint the drops” at Volland Studio. He spattered everything – again without any formulaic application.

The thin paint of these select scenes at the Moline Scottish Rite Cathedral also intrigued me. I have encountered examples where the paint is so thin that the entire drop could have been a transparency. I have also evaluated dye drops at Scottish Rite theaters. For commercial touring shows, the extremely thin application of paint, or use of dye, made sense to me. If the drops were constantly shifted or transported to a new venue, the painted compositions would hold up over time. For example, in Madison, Wisconsin, there are more Scottish Rite drops than lines to hang them from. Almost all of their drops are dye drops and the majority are kept off stage in a nearby storage room. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree.

I recalled Jesse Cox’s drops on display at the theater museum in Mount Pleasant, Iowa too. His diamond dye process came to mind for tent shows. I even double-checked the Moline drops to verify that it was dry pigment and not dye. Sure enough, the colors were beginning to dust and I could see a thin layer of paint sitting on the surface. Not dye, just thin dry pigment.

The last thing that fascinated me was the predominance of warm pinks and reds throughout the composition of each scene. I wondered if this was the result of poisonous or fugitive colors. These terms mean that the appearance of some colors have altered over time or affected the appearance of neighboring colors. For example, the blue coloration in a purple paint can disappear over time– leaving only a faded bright pink or red area. An easy way to understand this shift is to think of old letters on parchment. A shift in the coloration of ink can occur over time. The original black ink can shift to a faded blue, purple or brown. This also happens with many children’s markers. I have watched black marker drawings turn to red in just a few years. Certain aspects of each color simply disappear over time as they are exposed to various forms of light.

It is possible that this appearance of each Moline drop remained unaltered. However, everything seemed slightly “off” for these few Scottish Rite scenes. So whether it was a young artist’s inexperience or faded coloration of pigments, some of the Moline scenes were stylistically unlike anything that I had ever encountered before. This was just one more mystery that may remain unsolved.

To be continued…

It is exciting to identify the work of individual scenic artists. Looking for specific colors, brush strokes and other identifying marks is similar to a treasure hunt. Charcoal lines, pounce marks, and lining work can all provide clues.

Unlike the Fort Scott collection, most Scottish Rite installations were the work of multiple artists. However, all of the drops still needed to blend together as a unified whole once the collection were assembled on site. This is similar to choral singing when you don’t want any one voice to stand out too much. However, even when a single studio solely produced a collection there could be variations. Sometimes the work of an individual artist will become apparent upon close inspection. Even if the identities of these artists are unknown, we can still identify their artworks in a collective whole.

One discovery at the Moline Scottish Rite would bring my back to my first days as a scenic artistic and scholar while processing the Holak collection for the Performing Arts Archives at he University of Minnesota Libraries. Primary made up of Sosman & Landis designs, the Holak collection was the third of four scenery design collections acquired by Professor Emeritus C. Lance Brockman. Again, here is the link to the scenery collection database: https://umedia.lib.umn.edu/scenicsearch. My work at the archives as a student, research assistant, employee, and returning scholar would prove invaluable throughout the course of my career.

In 2000-2001, I assigned every word of metadata for each artifact in the scenery collection database containing the three collections: Twin City Scenic Company, Holak (Sosman & Landis and New York Studios), and the Great Western Stage Equipment Company. My duties involved determining five key words that best identified each of the 3000+ images in the online collection. At the same time, I was also assigning the subject, media, stage term and masonic degree for each image. Crosschecking my entries provided an opportunity to compare and contrast all three collections over and over again. At the time, I also requested the addition of another category that would identify the specific artist, or “creator,” of many designs. Only a few of the artworks were signed or linked to a specific scenic artist. This meant that I had to do a final inspection of all three collections to look for stylistic similarities that could link unsigned works with signed works. Remember, many of the artists worked at multiple studios, so all three collections had to be examined simultaneously.

In 2012, I returned to the archives as a volunteer and did metadata entry for a new acquisition -the Northwestern Studio collection. This work was completed over one term while I taught scene painting class at the Department of Theatre Arts and Dance. For me, it was another way to give back to my alma mater, but there was also a personal reason that I wanted to help process this collection; it was to familiarize myself with this new acquisition. There is something to be said about individually handling each artwork or document as you become intimately familiar with not only each artifact, but also the scope of the entire collection.

In addition to working with incoming acquisitions, I also completed a series of technical studies over the years to fully understand the compositional layout, color palettes, and painting techniques. Whether as an undergraduate student, graduate student, or professional, it was always a form of practice to improve my own painting skills. It also allowed me an intimate familiarity with some of the works – such as the gates of the city for the 15th degree.

Twenty-eight years after first replicating this small design from the Holak collection, I encountered a similar painting style at the Moline Scottish Rite Cathedral during March 2017. I was photographing various painting techniques and noticed the unique painting of blocks for the Gothic Cathedral setting. The painting technique was almost identical to those rendered by the designer for the city gates. I copied this design as a nineteen-year-old because I was enthralled with the pink stonework.

It was very different from everything else that I had encountered in either the Holak or Great Western Stage Equipment Company collections at the time. Portions of the light base coat remained visible in the final composition, providing a texture for each stone. This base also forms some of the grouting before the addition of sparse lining.

As I photographed the painted details during the Moline evaluation, I finally understood what I had missed when originally replicating the pink stones. My own brush strokes were too formulaic. It made me think of the approach to painting foliage. There needed to be an organic feel when painting each stone – like the placement of leaves on a vine. I tucked this bit of information away for future painting projects. There is always something to learn from these historical collections.

To be continued…

The camp backdrop is a standard setting for the thirty-second degree in many Scottish Rite theaters across the country. This scene uses either a backdrop or a floor cloth, each painted with a nonagon.

The most common design in the Southern Jurisdiction places the nonagon in a valley surrounded by a deciduous landscape. Tents, letters and specific objects are placed throughout the scene in designated locations. Wooden leg drops are often used to accompany the scene and mask the side stages, providing the standard illusion of depth.

Occasionally, Scottish Rite theaters will add corresponding leg drops with camp tents, such was the case for Fort Scott and Winona. This signified that the Valley had the funding to add this particular extravagance.

Interestingly in St. Louis, however, the nonagon appears as a translucent shape in the cloudy sky. This is truly unique and a Volland Studio interpretation. It does double duty for the first and second sections of the stage degree. In the first section, the nonagon remains invisible for the scene. During the second section the nonagon translucency is illuminated at the appropriate moment.

In terms of theatrical interpretation, this staged degree frequently breaks the proscenium line to do the necessary “floor work.” In some cases, the scenic studio painted the nonagon on a floor cloth that was either placed on the stage or on the floor of the auditorium. For this type of theatrical interpretation, practical tents could be positioned along the specific sides. A few Scottish Rite Valleys used both a backdrop and floor cloth, each with a painted nonagon. This is the case in Grand Forks, North Dakota, where there is a detailed backdrop and detailed floor cloth for the thirty-second degree.

The Moline 32nd Degree Camp scene is unique for its design as there is simply a red nonagon without the standard inclusion of painted tents, objects, flags or letters. This scene appears to be unique to John C. Becker & Bro. Studio of Chicago.

For some Valleys, such as St. Louis, Missouri, the foreground of the scene depicts the Commander’s tent, with the military camp in the distance. The use of a practical tent in the foreground is common for the first section of the degree. There is either a cut opening for the Commander’s tent in the backdrop or an actual set piece. Winona, Minnesota, used a reversible set piece for the Commander’s tent. When not used as a military tent, it could be transformed into a rustic hut for the Hermitage setting in the York Rite.

Many of these same camp settings were also used for York Rite degrees. The York Rite staged portions of their degrees too, occasionally constructing theaters within Scottish Rite Cathedrals or Masonic complexes. They often used roll drops placed in the east end of a lodge room. Their theatrical interpretation of degree work was equally successful, but much smaller due to fewer degrees. The shared use of specific scenes for both Scottish and York Rites also explains many of the unique variations for camp designs. Depending on the possibility of shared use by multiple organizations – such as Grotto, Shrine, York or Scottish Rites – the Masonic designs could be slightly altered to accommodate a variety of degree interpretations.

To be continued…

There is something magical about the glitter of gold on a flat surface. Metallic gold will shift from a deep unreflective bronze in the shadows to a brilliant sparkling gold in the light. Looking at a gold highlight from different angles makes the overall surface come to life. It adds a little magic, or life, into the painted scene. The use of metallic glazing on theatre scenery, however, is not as effective as one has to be very select in the placement. The application must be sparse and effectively lit for the areas of the scene to glisten. The painting or the audience needs to also move for it to become visible. Imagine the hell scene and the metallic paper strips previously discussed. They only work very well if the backdrop slightly moves.

As a side note, one needs to understand the difference between a flat color and metallic color. Over the years I have repeatedly explained the difference between the opaque color gold and the metallic color gold. An example is my suggestion to use of gold metallic paint for the stars on the Minnesota Masonic Heritage Center Lodge room ceiling. Early discussions included my painting metallic accents on each gold colored star. These samples were used to explain that gold metallic will reflect and move, the flat opaque color gold would not. Metallic stars on curved ceilings give the room movement– especially during Masonic ceremonials. In low lighting situations, the painted metallic stars would twinkle without the need for LED or other lights placed within each star. Unfortunately, the celestial skies ended up including white stars as the CEO could not comprehend the reflective quality and movement of a metallic paint.

Seldom have I encountered a lot of metallic glazing in Scottish Rite scenery. Typical metallic additions include metallic paper strips that are glued onto the painted surface to simulate the fiery blazes of hell or the rays from heaven. Most metallic paint appears after the 1920s. Here is my theory: prior to that time the scenic artist successfully painted golden treasure with flat colors, allowing sections of the composition to sparkle without the use of any metallic paint. During the 1920s, some of the scenic artists create compositions that were less dimensional – more flat. This means that the painted perspective was less effective. It is possible that the application of metallic paint was an attempt by 1920s scenic artists (and those generations after) to reintroduce life and dimension into a relatively flat painting.

There are two scenes in the Moline scenery collection that have an abundance of metallic glazing, almost too much to make it effective. In each scene, the composition takes on the 1920s characteristic of a foreground that appears much larger than life. These two scenes are reminiscent of the previously discussed tree trunks in St. Louis and the ruins in Fort Scott. In Moline, we again see massive columns in the foreground of each scene. There is an excessive amount of metallic glazing applied throughout the composition, from foreground to background. The excessive use destroys some of the painted perspective and illusory effect.

This application of gold paint is very visual within a few feet. The effect would have worked well up close upon initial inspection by a client. I have to wonder if that was the primary purpose – to impress representatives from the Valley of Moline. It really doesn’t read well from the auditorium as there is too much metallic painting within an overly complex composition. Metallic stars in the ceiling of lodges are sparse in deep blue settings. That is something entirely different – and effective. The metallic stars visually “pop” from the deep blue. In Moline, the metallic accents occur on lighter backgrounds and therefore compete with the surrounding composition, reading simply as dark gold.

This is why metallic foil paper works better than metallic paint in the dark areas of the hell scene. The dimensionality of the metallic strips – the crinkles – selectively placed along the edges of figures or rocky outcrops add a little magic. The crinkles of the metallic paper allow the highlight to appear “natural.” It is similar to painting a broken line instead of a solid line in any composition. The broken line is more effective as the viewer’s eye fills in the line and it appears more natural. Furthermore, there needs to be a deep color from where the gold glistens – catching the light in a darkened chamber.

I have also encountered backdrops where Masonic stagehands added a metallic sparkle decades after the fact. This was the case with the Fort Scott scenery. Some well-meaning individual decided to add metallic puff paint to Jacque DeMolay’s tomb. The dimension of the puff paint actually worked quite well, like the metallic paper strips due to the dimensional quality. When I first encountered the painted tomb during November 2015, I laughed out loud. Puff paint to spruce up a Knight Templar Tomb? But the dimensional paint was against a dark surface and selectively placed.

I have also come across sequins, metallic wrapping paper, and other shiny objects glued onto backdrops, especially on metal vessels in treasure scenes. If not lit properly, the painted golden vessels on a treasure chamber backdrop will appear flat. This causes stagehands to glue on shiny items to catch the light and allow the artifacts to glitter. Good idea? It’s debatable, but often hard to detect. Most of the lights need to be turned off, darkening the entire painted composition and allowing the metal objects to appear.

To be continued…

This is a lovely video that shows the traditional method to transform dry pigment into pastels. It is well worth taking the time to explore “The Feel of Color.”

Over the years, I have encountered painted compositions that just made me giggle and occasionally laugh out loud due to the poor quality. The captions could read: “Good enough for who its for,” “Just get it out the door,” or “Done is good.” There are obvious compositions that were painted in a rush without much consideration to the quality. Maybe the drop was for an irksome client, one who never paid his bills. Every collection tells a story through the application of paint and individual brush strokes. During long hours, I find myself creating background stories for every painted composition. This humors me and helps me get through each evaluation or restoration project.

The Moline scenery collection can be divided into two categories: existing scenery that was refurbished for the 1930 stage and newly designed scenery created specifically for the new Cathedral stage. These two categories can be further subdivided into other groups that are identifiable by painting techniques characteristic of individual artists. The entire Moline collection does not appear as a unified whole with a shared aesthetic. I have to wonder if this was apparent to those who worked in the studio or who purchased the scenery.

The new scenery produced by Becker & Bro. during 1930 can be easily identified by the excessive the use of spatter. However, other identifying characteristics include the use of paint glazes, a predominance of primary colors, and unrefined line work.

In contrast, the oldest scenery lacks spatter, uses a richer color palette, has precise lining, and the paint application is much more refined.

These older drops were already by the Valley of Moline were refurbished for the new stage in 1930. Although there is no documentation that notes who created the original scenery, almost all of the scenery has a Becker & Bro. studio label stenciled on the edge of each drop. Even those without any identification do not appear to be the work of either Sosman & Landis or Volland Studios. One other possibility may be that the earliest pieces were purchased piece-meal over the course of a decade and prior to 1925.

Good examples to show the variation in quality and style are the original wood scene and later 15th degree ruins and 21st degree ruined abbey settings. The Moline landscape depicts a more traditional style of scenic art and aesthetic associated with works produced from 1910-1920. There is a depth in the shadows and underlying warmth that is later replaced by a predominantly cool glaze. The tree trunks, branches and floral work suggest a skilled hand of a studio artist who was well versed in exteriors scenes and landscapes.

Becker lists in his scenery estimate from February 1930, that one of the “used” scenes for new stage is the wood setting. This scene is reminiscent of many other painted compositions created for both fraternal and commercial stages during the first two decades of the twentieth century. By the 1920s, many shadow areas in landscape compositions incorporate ultramarine blue. Cool hues dominate the recesses in theatrical landscapes during that time.

It is possible that the variations of paintings techniques were due to the lack of consistent supervision in the Becker paint shop. John Becker was the primary designer and scenic artist for the company, whereas his brother primarily worked with the actual scenery construction and subsequent installation. John was also company’s main salesman, responsible for networking and contracting new work across the country. That meant he spent a great deal of time away from the studio. His continued trips and negotiations with the Valley of Moline are one such example. Was this the reason that many Becker & Bro. installations fail to depict a consistent quality and unifying style?

To be continued…

The construction of the Moline Scottish Rite Cathedral occurred during the initial decline of Masonic theater construction. The prosperity of the Fraternity and the construction of massive edifices were slowly grinding to a halt by the early 1930s. Although some Scottish Rite Valleys would to occasionally appear across the country, the race to build impressive facilities primarily ceased with the onset of the Great Depression. The creation of the Moline scenery occurred the year before Thomas G. Moses began the creation of his own Masonic Model, hoping that his new designs would ignite an enthusiasm to purchase new scenery orders. Maybe Moses understood that the building boom was over and the majority of “new purchases” would revert to items directly associated with degree productions, ceremonial work, costumes, and paraphernalia.

As with Fort Scott, McAlester, and other Masonic scenery installations from the mid- to late-1920s, new designs appeared on Moline’s stage and are worthy of comment. These innovations reflect the changing times, John C. Becker’s ingenuity, the skill of Becker stage workers, and the magic of theatrical illusion. Two of the Moline scenes designated as “Gothic” used transparencies created with scrim.

The first “Gothic Interior Scrim” was the setting for the first section of the Eighteenth degree and suspended from line 5. This eighteenth degree scrim setting preceded three others that included a crucifixion scene, a Hell scene, and an ascension scene. Close the proscenium opening, the composition appeared as a simple stone colonnade with red draperies. The entire drop was constructed with scrim, a transparent material that was a predecessor to today’s Sharkstooth Scrim. A very light textile made from cotton, or flax, it appears opaque if lit from the front. It will become nearly transparent if primarily lit from behind, revealing hidden objects or actors.

The Gothic interior scrim was in remarkable shape with slight dusting and only some minimal damage along the original seams. As I stood upstage from the drop, I was astounded at the transparency. It was as if I was looking through a smoky window. I had never encountered a full scrim drop on a Masonic stage before. Transparent sections were common, but not entire drops. The largest section of scrim that I had even evaluated depicted an empty tomb opening with the two Marys and an angel (York Rite degree).

The first thing that I noticed about the Moline scrim was that it was constructed with 36” wide fabric, horizontally seamed together. Surprisingly, these horizontal lines were virtually indiscernible from ten feet away, let alone anyone sitting in the audience. As with the sides of the scrim drop, all edges were reinforced with jute webbing to prevent fraying. The work was extremely well done and there was only one small spot where the seam had started to split. This provided an opportunity to examine the actual construction.

Another scrim setting also called the “Gothic Interior” Scrim was used for the first section of the nineteenth degree. Remember that Moline in in the Northern Masonic Jurisdiction, and their degree settings began to radically depart from the Southern Jurisdiction degree interpretations just prior to WWI. The nineteenth degree in Moline used settings that depicted Hell, a stone interior, the Holy City, and a city in ruins. The stone interior setting also used a small section of painted scrim that later revealed a cross.

For the second Gothic interior, the central section of the drop included two hidden doors in the altar. These undetectable doors were noted as “Vampire doors” in the contractual agreement from Becker & Bro.

The central altar was constructed of 1” thick lumber and supported by a wooden frame. This frame was suspended with wire from the top wooden batten.

As with other practical doors and wooden frames, the painted surround was simply tacked onto the wooden surface. Other Moline scenes that incorporated transparent sections included the central section of an interior setting for the twentieth degree, the Traitor scene. Again, the translucency was undetectable when front lit. All of the scrim sections in the Moline installation were in remarkable shape and still hung from their original line sets.

To be continued…

In this complicated tale between the John C. Becker and the Moline Scottish Rite, the timeline for the planning and installation of the Scottish Rite scenery becomes quite fascinating:

1925 First consultation by John C. Becker & Bro. with the Valley of Moline. Becker presents a tentative scenery estimate.

1926 Becker presents another tentative scenery estimate to the Valley of Moline.

1927 Becker presents another tentative scenery estimate to the Valley of Moline.

1929 April. Becker pressures the Valley of Moline to finalize their scenery selection as other large Scottish Rite contracts are being negotiated.

1929 May. Cornerstone laying ceremony for Moline Scottish Rite Cathedral.

1929 October. Becker presents another scenery estimate for new Moline Scottish Rite cathedral stage. The inventory provides a thorough installation to stage all twenty-nine degrees.

1930 January. Becker requests some form of deposit or guarantee that his studio will receive a contract soon as work has already begun refurbishing some of the existing scenery due to the impending deadline.

1930 February. Becker sends three final contracts to the Valley of Moline for the refurbishment of existing scenery and the creation of new scenery.

1930 March. Valley of Moline accepts two of three contracts sent in February by Becker but doesn’t sign them.

1930 April 1. Howard C. Passmore of Moline Consistory signs two scenery contracts.

1930 May 2. Raymond H. Becker leads installation crew at the Moline Scottish Rite. During this same month, John Becker is in New York. They are suing Harry Rogers of Theatrical Enterprises for an overdue amount on a scenery contract.

1930 June. Becker begins inquiries about overdue balance for scenery and installation labor from the Valley of Moline. A new board has been appointed to the Scottish Rite Cathedral Association.

1930 July. Becker visits the Valley of Moline to inquire about the overdue balance. A few days later, Becker receives a letter from the Valley of Moline soliciting donations for their Commander-in-Chief.

The following correspondence was sent to John C. Becker from the assistant secretary at the Moline Consistory. Howard C, Passmore, the Commander-in-Chief of the A.A.S.R. Moline, worked as a securities agent in the Moline area and is financially struggling. Here is the handwritten letter that the asst. secy. sent to John and Ray Becker.

The letter dates July 24, 1930:

“My Dear Bros. Becker.
I am writing you a few lines on a subject that is hard for us to talk about as it concerns none other than our Dear Commander in Chief, Howard Passmore, nor do I want to say much in writing, but knowing what you and Ray think of Howard, my short story will probably surprise you.

Howard has by some manner (“unknown” generally) gotten himself into a financial jam that took a sudden turn that it was very necessary that his friends come to his immediate assistance in order to save him from more serious trouble. So after many sleepless nights etc. it was decided that our faithful friend C. J. Seymour take hold and see what he could among the more prosperous of our Consistory members in the way of a free will offering, and he decided he could place his at $50.00 and $25.00 and I was to solicit the membership at large and I was to place my donations from $1.00 to $5.00 and my letter herewith is what I got out yesterday.

(Side note: C. J. Seymour was a successful salesman and later manager who started with the Moline Plow Company. By 1917 he became in charge of motor truck sales for the Nash Sales Co. at Omaha)

John and Ray, I am writing this letter to you as a personal matter as I feel you both are so close to Howard as any of us, and feel personally that you would want to do your bit for him whatever you feel you can afford will be appreciated by us. Make your check payable to me and I will see to it that it is properly taken care of.

I won’t go into any detail by letter. But if you come down our way and time I may tell you. Fraternally yours,
H. A. Johnston, asst. secy.”

John Becker donated $10.00 to the Passmore fund during an onsite visit.

1930. September. The Valley of Moline still had an outstanding balance for their scenery installation.

To be continued…